PhotoHistory XIV – Speakers & Topic Outlines Alphabetical by Speaker

Presented by The Photographic Historical Society at George Eastman House, Rochester NY October 17, 2009

Bennett, Terry. (London, England) – PHOTOGRAPHY IN CHINA 1842-1860 . Terry Bennett is an authority on early photography in China, Japan and Korea. He has researched and collected in the field for over twenty-five years. He has lectured in Britain, France, Switzerland, Canada, the United States, Japan, Hong Kong and Shanghai. His books include: Caught in Time: Great Photographic Archives, Japan (1995, with Sir Hugh Cortazzi), Early Japanese Images (1996), Korea: Caught in Time (1997), Photography in Japan 1853-1912 (2006), Old Japanese Photographs: Collectors’ Data Guide (2006) and History of Photography in China 1842-1860 (2009). He is currently working on a study of photography in China during the 1860s and 1870s, and plans to publish a book in 2011. [email protected]

In researching for his recently published book, History of Photography in China 1842-1860 , Bennett came across an immense amount of interesting new material on the subject – in some cases answering questions that had puzzled researchers for many years. In this talk, the author will share with you some of these findings and also outline his research methodologies. He will also be answering questions such as: When was the earliest photography in China? Was photography invented in China? Where was Felix Beato born and where and when did he die? Who was Milton M. Miller? Was the American artist, George West, the first professional photographer in China?

Bogdan, Robert C. (Orwell, Vermont) – THE PEOPLE’S PHOTOGRAPHY: PHOTO POSTCARDS, 1905-1935. Bob Bogdan is a Distinguished Professor Emeritus at Syracuse University where he was the director of the interdisciplinary social science doctoral program. He used photographs extensively in his teaching and research. The author of three books that focus on photo postcards (Exposing the Wilderness, Adirondack Vernacular, and Real Photo Postcard Guide) and one, Freak Show, that used photographs as a main source of information, Bob is an avid collector of photo postcards and photographs related to disability. [email protected]

Photographs printed on photo postcard stock were wildly popular in the United States from approximately 1905 to 1935. People of all social ranks bought them. Although many were taken by snap shot amateurs, most were taken by local town photographers. They shot all aspects of American community life producing a rich vernacular record. Many of these photographers were common people with an uncommon talent. Their work is important for its documentary contribution and because they produced images that were both technically and esthetically exceptional. Even though photo postcards were ubiquitous, a vast untapped visual archive, the format has been neglected by photo historians. This richly illustrated PowerPoint presentation will explore the contribution of photo postcards to American photography. It will trace the history of the technical development of the format and its rise to prominence. The photographers who produced photo postcards will be covered. The images will be discussed within their historical context highlighting crucial changes that were occurring during their popularity as well as the changes that were occurring in the occupation of photography. Photo postcards have become highly collectible. Bob will outline the various collecting categories using wonderful illustrations.

Broad, Jerome (Pepper) E. (Pequea, PA ) – TRADESMEN, CRAFTSMEN, AND LABORERS IN OCCUPATIONAL TINTYPES. Collecting occupational tintypes, ferrotypes, and street cameras, for the past 25 years has been an avocation not an occupation. Those who posed for occupational images of themselves chose to show off themselves and their work. [email protected]

From the most mundane to the highly acclaimed, each person represented in these tintypes takes us back through time. People wanted to be remembered by the work that they did. These images represent who these people were and the tools that they used to do their work. We will travel back to a simpler place and time where your job defined who you were. Join me as we observe these individuals at their work and play.

Champlin, Michael A. (Fairport, NY) – REDISCOVERING THE BEAUTY OF KODACHROME Mike as an editor for KBTV at Kodak, produced the documentary ”Colorama: The Story Behind the Pictures”, spearheaded the restoration of the 1921 film “A Movie Trip Through Film Land”, edited countless celebrity video tributes for George Eastman House, and owns a video production company which just made the transition to high definition.

In 1913, JG Capstaff, an Eastman Kodak filter maker, produced a working color film process almost two years before Technicolor was established. Ultimately, the process was discarded, but some of the subjects that Capstaff captured have significance even today. One work in particular, “The Flute of Krishna” (1926) is the earliest record of Martha Graham’s choreography. The film has gained some notoriety with its re-release as part of the “More Treasures for American Film Archives” DVD collection compiled by the National Film Preservation Foundation. New evidence suggests that this print, as well as many other (original) Kodachrome prints after 1922, may have been incorrectly printed. The accepted dye combination of green and red produced images that looked stenciled and cartoonish. Recently discovered files from the Kodak Research Labs indicate that after 1922, Capstaff may have rethought theses colors and began experiments using cyan and magenta. Combined with originating on panchromatic film, the results, when properly printed, reproduce almost full, natural color.

Andrew Davidhazy (Honeoye Falls, NY) – THE VANISHING 16 MM HIGH SPEED CAMERAS. I came to RIT as a freshman Photo Science student in 1961 and later worked for Dr. Kenneth CD Hickman in his Distillation Research laboratory for several years as a technical photographer before embarking on a teaching career in the School of Photographic Arts and Science. Currently I am a professor and chair of the Imaging and Photographic Technology department there. I have been active in the field of high speed photography and applied technical photography, especially with improvised approaches and equipment, and these are my major areas of contribution to the department. I hand-built various rotating film panoramic and peripheral cameras and built several improvised scanning cameras and enlargers. With the former I made one continuous photograph of the entire length of East Avenue in Rochester and with the latter I made enlargements that exceed 100 continuous feet in length.

I am not a collector but it seems that my lab has become the repository for several of these historic cameras as organizations that own them start to discontinue their film operations and donate obsolete items to my lab.

You can peruse over 100 of the articles that I’ve prepared on these topics on my website. I am a fellow of the Society for Imaging Science and Technology and the International Society for Optical Engineering. My website is at: http://people.rit.edu/andpph and my email address is [email protected] . The presentation will start with a brief overview of motion picture technology. This will be followed by basic theory of on- screen time manipulation possibilities afforded by the development of cameras with increasing framing rate capability. Basic operation of film advance mechanisms in intermittent film motion cameras such as the Bolex will be described and analyzed. Factors limiting intermittent operation at high framing rates will be discussed and solutions incorporated in the highest framing rate intermittent (and pin registered) cameras, such as the Locam and Photosonics 1PL will be explained and demonstrated.

Fricke, Rolf D. (Rochester, NY) - CELEBRATING A PIONEER - HONORING EATON LOTHROP. Rolf Fricke, a retired Kodak Director of Marketing Communications, has been collecting specific cameras and ephemera with a human interest background for approximately 45 years.

Eaton S. Lothrop Jr. (1930 - 2008) was a meticulous camera collector (circa 5000 cameras of many categories, including countless single-use cameras ); an image collector (9000 images, including tintypes, cartes-de-visite, and others) ; a scholarly researcher and author (" Time Exposure " column for Popular Photography magazine for 18 years) ; founding member of this Society in 1966 (the very first of its kind anywhere ); speaker at several of our PhotoHistory Symposia ; initiator and publisher of "The Photographic Collectors' Newsletter" in February of 1968 (also the very first of its kind anywhere), which was this society's house organ for a time. Above all Eaton was an extremely good-natured human being, always helpful and positive, with never an unkind word about others.

Gustavson, Todd. (Rochester, NY, USA) – THE CAMERA BOOK . Gustavson, who began working in the technology collection at George Eastman House in 1988, has been collection curator since 1998. He has curated or co-curated ten exhibitions for the museum, including the critically acclaimed traveling exhibition The Brownie at 100 . Prior to coming to the Eastman House, he served as a staff photographer at Chautauqua Institution in Western New York. Gustavson received his B.F.A. in Photography from Louisiana Tech University in 1980.

Gustavson will briefly describe the process of authoring Camera: The History of Photography from Daguerreotype to Digital , a recently released book drawn from the George Eastman House collections. 2

Isenburg, Matthew R. , (Hadlyme, CT) – THE MANY FACES OF DAGUERRE. Matthew R. Isenburg has been collecting photography since the late 1960s and by any measure has one of the definitive collections of early photography in the United States. His collection tells the story of photography from the beginning of the daguerreian era through the wet plate era. He is one of the two founders of The Daguerreian Society. [email protected]

Daguerre’s image was used on everything from cigar bands to cigarette cards, from coin medals to trade cards, some very accurate and some with extreme artistic liberty. We will examine the mystique of the man, his image, and his portraits, both original as well as 19 th century reproductions of those originals. This will be an intimate scrapbook on Louis- Jacques-Mandé Daguerre. After this presentation, it is hoped you will feel you know him better than before.

Joseph, Steven F. (Brussels, Belgium) – EARLY ADVERTISING PHOTOGRAPHY: A WELL-KEPT SECRET. Steven Joseph is an independent photo-historian, author of several monographs on nineteenth-century photography in Belgium. He also researches on applications of photography to book illustration, contributing to Imagining Paradise published by GEH in 2007. He is currently building up a reference collection on the interactions of photography to the graphic arts before 1914, in particular the emergence of photography in advertising. [email protected]

Some of the most inventive photographic imagery of the 19 th century was thrown away almost as soon as it was created. Advertising photography, although it constituted a good revenue-earner for many professionals, was lightly regarded at the time and taken for granted by the businessmen who commissioned the work. Very little has consequently survived. The fascinating relationship between commerce and its image, from simple visual statement to complex branding, is explored in detail, by means of many early examples for a wide range of products and services and in a variety of formats (from carte-de-visite to large-format display boards). Photographers reserved some of their most imaginative designs to advertise their own works. These early images, many seen here for the first time in over a hundred years, helped to create a new visual vocabulary and paved the way for the advent of mass-marketing at the dawn of the 20 th century.

Kraus, William M. (Newtown, PA) – NIKON, THE EARLY YEARS. Bill Kraus has been involved in photography for just over half a century, starting at a time when Japan began to emerge as a supplier of quality photographic products. Early on, he became fascinated with the evolution of the industry, with particular interest in the cameras and lenses developed in Japan after WW II. He is a charter member of the Nikon Historical Society (USA), and has presented original research at each of their International meetings since their inception. Other interests include current research on the Aires Camera Company, and the Kiev/Contax evolution. He is also a member of the Nikon Historical Society (Japan), Zeiss Historica and the Russian Camera Collectors Club (UK). [email protected]

Kawai, Takayuki (Saline, MI) - NIKON, THE EARLY YEARS. Takayuki Kawai started to get involved in photography when German cameras were dominating the world. His first camera was a “Lily” hand camera followed by a “Semi-Pearl,” both made by Konishiroku. Later he switched to “Nikon S2” which made him seriously interested in Nippon Kogaku. Although he belongs to Nikon Historical Society (USA) as a charter member and Nikon Historical Society (Japan), he also enjoys Leicas, Contaxes, Rolleis, Hasselblads, and Linhofs among other high quality photographic products. He is an active member of MiPHS and an ex-member of LHS, LHSA and PCCGB. [email protected]

It is interesting to note that the Nikon camera, arguably one of the major forces in Japan’s rise to dominance of the camera industry, only entered the market, a century after the invention of photography. The company, Nippon Kogaku, founded in 1917, was busy doing ‘other things’. It was not until the Occupation Forces required that production be used for peaceful purposes that the Nikon was born. This presentation will take you through that evolution.

Layne, George S., M.D. ( Philadelphia, Pa. ) – STRINGSET KODAK CAMERAS – A SURVEY. Dr. George Layne is a Philadelphia psychiatrist who has been studying the history of photography for 30 years. He has made presentations to PhotoHistory Symposiums in Rochester on the Langenheims of Philadelphia and on Kodak advertising. Dr. Layne has also written and lectured about Art Deco Kodak cameras. [email protected]

In the first ten years of his work in the photography business, George Eastman developed a complete system of photography that made it available to everyone regardless of technical ability. His system included easy to use cameras, the Stringset Kodaks, named after the way the shutters were cocked. The first model, known to collectors as the Original Kodak Camera is one of the most sought after icons of the history of photography. It is a curiosity that although these cameras were made by the Eastman Kodak Company, most did not carry that company name. To determine the extent of this situation, Dr. Layne has produced a database of examples of the cameras in collections today. His presentation to PhotoHistory will describe the results of his survey of over 200 cameras. He will discuss the details of the different types of Stringset Kodak cameras and their accessories. 3

Martin, Nancy M. (Rochester, NY) - THE KODAK HISTORICAL COLLECTION AT THE UNIVERSITY OF ROCHESTER: A RESOURCE FOR THE PHOTOGRAPHIC HISTORIAN . Nancy Martin is the John M. and Barbara Keil University Archivist and Rochester Collections Librarian at the University of Rochester. She recently collaborated with colleagues to write Wish Yo U We Re Here… a Century of Postcards of the University of Rochester.

Earlier in this decade the EK Co. donated to the UR many of its historical records including those of the Kodak Research Laboratories. Kodak assigned to this collection the name “Kodak Historical Collection #003.” It is an immense, visually rich and varied collection with treasures for the Rochester community as well as scholars worldwide. Aside from the obvious research benefits of such a gift, there also are problems of description and preservation. This talk will focus upon the Collection and how it has been used at the University.

Newcomer, Les W. (Farmington, MI) – HOW FOLMER & SCHWING CHANGED THE WORLD . Les Newcomer is a commercial/architectural photographer serving Detroit and the Midwest for past 20 years, and has worked with the historic preservation community for the past 30 years. His passion for Graflex and the Speed Graphic camera developed while attending Rochester Institute of Technology (BFA '88) and has grown to include an administrative position at Graflex.org, an editorship at Graflex Historic Quarterly, and a house full of Speed Graphic cameras. His book on the Speed Graphic, The Graphic Manual , will be published in the next few months. [email protected]

From Weegee's The Critic to William Gallagher's, Adlai Bares His Sole , the photographs that define the era from the Depression to the Cold War were taken with a Speed Graphic. The history of Graflex has been told many times and at least once at PhotoHistory by none other than Tim Holden. But there is precious little history about the founders, and much of what is published is inaccurate. Mr. Newcomer will offer information not seen in over a century, dispel myths of the lack of information about Mr. Schwing and his mysterious disappearance, and add a new chapter to Mr. Folmer’s life of which many photo-historians are not aware.

Ocker, Sabine (Gloucester, MA) – PORTRAITS IN GOLD: OROTONE COMMERCIAL PORTRAITURE 1910-1930 Sabine Ocker is a collector of 20 th century photography, snapshots and unusual processes such as cyanotypes, autochromes and orotones. She has been collecting and researching for 15 years and has a strong interest in Photo History. Sabine gave a talk on the Role of the Cyanotype in Women’s Colleges 1890-1910 at PhotoHistory XII. [email protected]

The early 20th century saw the invention of several unusual and beautiful photographic processes, including the orotone. Many photography collectors are not familar with this rare and lovely process—which uses gold salts instead of silver— although fine examples of orotones or Curtis-tones sell for many thousands of dollars at auction. But far from the rarified air of the art photography studios, some savvy commercial photographers offered their customers “gold pictures” as a way to “upsell” an account. In one marketing brochure, a photographer even likened his orotones to the old Daguerreotypes. My presentation will provide a high level overview of the orotone process as used for commercial portraiture during the period 1910-1930, including the making and selling of orotone portraits, popular presentation methods such as cases and frames, patents and awards, and marketing materials. The talk to be illustrated with examples from my collection of over 75 orotones.

Oliver, Barret S. (Glendora, CA) – THE WOODBURYTYPE: ITS HISTORY, TECHNOLOGY AND INFLUENCE . Barret Oliver is an artist and photographic process historian. His book A History of the Woodburytype , the first thorough study of this process, traces its history from the early technology and experiments to its commercial success and domination of the illustration field, and further attempts to adapt it to industrialized methods, and finally, to its eventual disuse. Oliver’s research spans the early history of photographic technology from Bayard’s direct positive photographs to the introduction of collodion dry plates.

Photography has always been looked upon as a means of reproduction. Our modern conception of photography, however, as a democratic medium, open for all, was not able to take hold until a method of true mass reproduction was developed. From before Daguerre’s announcement in 1839 until the mid 1860s, photographers and inventors worked tirelessly toward this goal. Many fledgling efforts were made to turn the photographic image into a printed picture of ink on paper, printable on a press in large quantity, but none of the early efforts were able to capture both the detail and tonal quality that were the hallmarks of the photographic image. That was until Walter Woodbury developed his method of photomechanical reproduction - the Woodburytype. Aesthetically beautiful, permanent and infinitely reproducible, the Woodburytype was the first process used extensively to photographically illustrate books, journals, museum catalogues, magazines and even campaign materials. It’s

4 proliferation of the photograph forever changed the way the world looked at images. More than a century after its heyday, the Woodburytype stands as a pinnacle of photographic achievement. For years curators and historians have recognized the beauty of these prints, yet no serious research had been done on the history, technology or the influence of the process. How did this unique relief-based photomechanical printing process come into use? And how did it affect the printing industry, the photographic community and society in general? And what causes led to its disappearance.

Ries, Linda A., (Harrisburg, PA) – J. HORACE MCFARLAND AND THE AUTOCHORME. Linda Ries is Head of History and Archival Programs at the Pennsylvania State Archives. She has written books and numerous essays on the history of Pennsylvania photography, including a chapter in Pennsylvania: A History of the Commonwealth (PHMC/Penn State Press: 2001). [email protected]

Scholarly study of the autochrome in America has been limited to examination of its aesthetics and use by artists such as Stieglitz and others. There has been little, if any, exploration of early attempts to put it to commercial use or practical purposes in the early part of the twentieth century. The multi-faceted J. Horace McFarland (1859-1948) was a Harrisburg, Pennsylvania printer, noted rosarian, horticulturalist, photographer, and national leader of the Progressive Era’s “City Beautiful” Movement. As a printer of horticultural catalogs for leading commercial nurseries he was very interested in the half-tone, photo-engraving, and especially color photographic processes. In November 1907, McFarland claimed to have received the first commercial shipment of autochrome plates from the Lumière Brothers and make the first manufacturing use of the autochrome in America. The speaker will introduce McFarland and his life and present examples of his autochrome plates.

Sasson, Steven, J. (Hilton, N.Y. ) – THE DAWN OF DIGITAL, THE DEVELOPMENT OF THE FIRST DIGITAL CAMERA . Steven Sasson has been interested in electronics since he was about 12 years old and has managed to combine that passion with photography over his 35-year career at Eastman Kodak during which he has developed many digital products in use today. [email protected]

This is a retrospective about some of the people and projects that drove the digital transformation at Eastman Kodak. The value of looking back is that it reminds us of how any transformation calls upon us to change the way we think about what is possible. Now no company has been more affected by the digital photographic transformation than Kodak-that you might already know. But what you may not know is that it was the people of Kodak that drove many of the developments that have enabled this technological revolution. Sometimes cautiously and sometimes, in the early years, quietly, the development of digital imaging for consumer use has proceeded inside what was known as a film company. I’d like to share the ‘inside” story behind the development of the first digital camera and other early digital camera projects that were key in the overall digital transformation of photography over the last three decades.

Shanebrook, Robert L. , (Irondequoit, NY) THE 35 MM FILM STORY: FACTORS THAT CREATED “135” – THE MOST POPULAR FILM FORMAT. Bob Shanebrook retired in 2003 after working at Kodak for 35 years. He worked as a photographer, researcher, and for over twenty years was a Worldwide Product-Line Manager involved in all aspects of Kodak’s professional silver halide film, paper and chemical business. Currently, he volunteers in the fields of silver halide technology and photographic history at George Eastman House. He is writing and photographing for a book on the Kodak film manufacturing process. [email protected] .

Many still film sizes and image formats have been implemented. However, 135-size is the most successful. I will review twenty products and technologies that contributed to 135’s success. For each I will discuss the innovation, the enabling factors, and the subsequent result. Some of these are obvious but others may be known only to the manufacturers. Hear an opinion on how the pieces, from many different sources, all fit together to create an industry.

Shields, Lorne S., (Thornhill, ON, Canada). HISTORY OF THE BICYCLE THROUGH THE LENS OF THE CAMERA . Lorne Shields has been an avid collector and researcher of early Cycling History for over 40 years. He has had some of his collection on display at the Smithsonian Institution and the Canada Science & Technology Museum. He has given talks on early cycling at various museums, universities and symposia in Europe and North America. His collection includes virtually every aspect of early cycling ephemera and memorabilia as well as the cycles themselves. His specialty and passion is historic Cycling Photography. [email protected]

Historic cycling and early photography have been bedfellows since their association with Niépce. Both the histories of photography and the bicycle followed similar timelines. The camera's use to record social and sporting events seems obvious; however, there is much more to the story. The developments of both the Camera and the Cycle during the Industrial Revolution thru the Victorian era (and even into modern times) were profound. The Camera recorded virtually 5 every aspect of the cycle's presence in sports, fashion, technology, advertising and commerce. The cycle went from a vehicle without pedals or cranks to the geared "modern" racer of the early 1900's. Examples of Quadracycles, the Monocycle, the Dicycle, Tricycles and Bicycles with levers, cranks, or pedals are captured in Daguerreotype, Ambrotype, Ferrotype, Albumen and Platinum Prints as well as other forms will be presented. The earliest image to be shown will be a ca 1848 Daguerreotype of a lever driven manumotive tricycle. There are truly amazing images to educate and entertain that include important original photographs exclusively from my collection illustrating women's liberation, "instantaneous" photography of the 1880's, occupationals, war, some of the earliest photographed examples of motorized land transportation, fashion, social history, sports, commerce and the cycle of life. The presentation will include fascinating images whose like have rarely if ever been presented. Please join me in viewing these captured images illustrating the cycling events of yesteryear.

Stuhlman, Rachel. (Rochester, NY) – PURSUING PARADISE. Educated in rare books and descriptive bibliography, Rachel Stuhlman received a Masters at Columbia University, and subsequently a Masters from Boston University in Art History, with a concentration on the nineteenth century. Since 1982 she has been Librarian and Curator of Rare Books at George Eastman House, adding over 37,000 volumes to the holdings. She has written numerous articles, and the monographic issue of Image entitled Luxury, Novelty, Fidelity: Madame Foa's Daguerreian Tale (1997), the translation of the first short story where the evidence revolves around the daguerreotype, with an explanation of why it appeared in a woman's fashion magazine. In 2003 she curated the small exhibition "Poetic Images," displayed at the International Center for Photography and Eastman House. Most recently she co-edited with Sheila Foster and Manfred Heiting Imagining Paradise: The Richard and Ronay Menschel Library, Rochester , writing many of the entries. [email protected]

"I have always imagined that Paradise will be a kind of library." The title Imagining Paradise derives from this line in the enigmatic "Poema de los Dones" by Jorge Luis Borges, the blind librarian and poet of Argentina for whom libraries were metaphors for both order and an indecipherable chaos. Imagining Paradise is intended to introduce the treasures of the Richard and Ronay Menschel Library to a wider public. Co-edited by Sheila Foster, Manfred Heiting and Rachel Stuhlman, designed by Manfred Heiting, with additional texts by ten prominent photohistorians, this sumptuous publication is at once scholarly and accessible. It is part study of the photographically illustrated book, part overview of the evolution of the Menschel Library. The inclusion of a comprehensive bibliography of George Eastman House publications showcases 60 years of the Museum's contribution to the literature of photography and film.

Weatherwax, Sarah J. (Prospect Park, PA) – CATCHING A SHADOW – DAGUERREOTYPES IN PHILADELPHIA, 1839 -1860 .

Sarah Weatherwax has been Curator of Prints and Photographs at the Library Company of Philadelphia, an independent research library, since 1996. She has written articles for the Daguerreian Annual and Stereo World. In 2003 she spoke at PhotoHistory XII about 19th-century Philadelphia photographer William Rau’s Middle Eastern photography. [email protected].

Introduced into America in the fall of 1839, shortly after its invention in France by Louis Daguerre, daguerreotyping quickly took hold in Philadelphia. The city had all the necessary components to successfully support daguerreotyping – a well-established scientific community that embraced the technological challenge, an artistic community that recognized the potential, and a population large enough to maintain a new profession. Until their gradual displacement by the more versatile paper photographs, daguerreotypes evolved in just twenty years from technological wonders produced by scientific experimenters to treasured personal objects produced in studios by operators who, at their best, combined technological expertise with artistic skill. Drawing on the Library Company’s strong collection of Philadelphia daguerreotypes, 19th-century books about daguerreotyping, studio advertisements, and other daguerreian ephemera, the heavily-illustrated presentation, Catching a Shadow: Daguerreotypes in Philadelphia, 1839 – 1860, examines Philadelphia’s role as a vibrant center of daguerreotyping.

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In the above brief biographies and outlines the authors speak in their own words. Their words have not been edited for uniformity of voice or style.

The two Eastman House authors will be available to sign copies of their books in the Bookshop from 12:00 to 1:30 on Saturday 17 October. At that time Symposium attendees may purchase those books at a discount of 10%.

We of the Program Committee were very gratified by the great number of papers submitted in response to our call. The quality was generally excellent, and we were sorry to have disappointed authors whose papers we were not able to fit into our schedule. We want to thank especially two persons, Sabine Ocker and Michael Champlin, who may or may not be presenting this year, but who have volunteered to be on “stand-by”, should one of our scheduled speakers not be able to present.

Andrew Davidhazy, Rolf Fricke, Nicholas Graver, Eugene Kowaluk, and Martin Scott, chair.

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